• Korean Journal of Plant Resources
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• v.20 no.5
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• pp.389-397
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• 2007

Using the active-increment of Tos17 copies in the genome of Oryza sativa L., there were many studies about induction and selection of new mutants. This study mainly focuses on the induction for retrotransposon(Tos17) activity in the callus of Ilpumbyeo(Oryza sativa L.) according to varied culture period and condition. The objectives of this study are obtaining various mutants($M_1$) through plant regeneration, identification of the mutation relation with Tos17, and subsequent phenotyping of the mutants($M_2,\;M_3$). A total of 371 $M_1$ mutants was obtained. The degree of Tos17 activity obtained regeneration plants with each different culture period was evaluated by Southern blot analysis. The result showed that control Ilpumbyeo rice has 5 numbers of copies and the band numbers obtained 7, 8, 9.5, 12, 6, 13.5, 17.5 from culture period of 1, 2, 3, 5, 6, 7, 8 month, respectively. In this study, the result showed that most effectual culture period for activity of Tos17 in Ilpumbyeo rice is 5 month. Hereafter, collections and analysis of various recombination plants will act on an important factor in multiplication and preservation of $M_2$ and $M_3$ generation. And an urgent and important subject is a development of screening method for selection of diverse mutants.

• Journal of the Korean Society of Hazard Mitigation
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• v.11 no.1
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• pp.29-35
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• 2011

This study not only investigates emergency medical personnel's posttraumatic stress(PTS), social support, work burden, and coping style but also identifies related factors which were exerted influence on PTS and active coping method of emergency medical personnels among the firefighters. The data were gathered from 143 emergency medical personnels who were receiving training. The data were collected by IES-R, consisting of twenty-two questions that determine the level of PTS, method used in Cho's research(2000) that deal with work burden, method used in Oh's article (2006) relating to social support, and sixty-two questions that deals with coping methods. Then the data gathered were analyzed using SPSSWIN 14.0 program. PTS of general characteristics showed significant difference in age, marriage status, education, and position. High risk group of PTS was 74(51.7%). Work burden, active and passive coping method, and three symptoms in PTS are significantly high(p=0.000) in high risk group. PTS was correlated with work burden(r=0.508, p=0.000), active coping method(r=0.375, p=0.000), and passive coping method(r=0.505, p=0.000) but not with social support. Related factors of PTS were work burden(0.371) and passive coping method(0.366). Also related factors of high risk group of PTS were work burden(odds ratio=1.064, 95% confidence interval:1.031-1.103) and passive coping(odds ratio=1.050, 95% confidence interval:1.022-1.080). Related factors of active coping method were PTS(0.392) and social support(0.158). To minimize the PTS of emergency medical personnels, the new policy should decrease their work burden and passive coping method and strengthen the social support to encourage active coping method.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.2
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• pp.128-140
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• 2021

This study applied the theory of Landscape Ecology to representative resources of Jeju Olle-gil, which is a representative subject of walking tourism, to identify ecological characteristics and to establish a technique for landscape ecological analysis of Olle-gil resources. Jeju Olle Trail type based on the biotope type, major land use, vegetation status around Olle Trail and roads were divided into 12 types. Based on the type of ecological tourism resource classification, the Jeju Olle-gil walking tourism resource classification was divided into seven types of natural resources and seven types of humanities resources, and each resource was characterized by Geotope, Biotope, and Anthropopope, just like the landscape ecology system. Geotope resources are strong in landscape characteristics such as coast and beach, rocks, bedrocks, waterfalls, geology and Jusangjeolli Cliff, Oreum and craters, water resources, and landscape viewpoints. The Biotope resources showed strong ecological characteristics due to large tree and protected tree, Gotjawal, forest road and vegetation communities, biological habitat, vegetation landscape view point. Antropotope include Culture of Jeju Haenyeo and traditional culture, potting and lighthouses, experience facilities, temples and churches, military and beacon facilities, other historical and cultural facilities, and cultural landscape views. Jeju Olle Trail The representative resources for each type of Jeju Olle Trail are coastal, Oreum, Gotjawal, field and Stonewall Fencing farming land, Jeju Village and Stone wall of Jeju. In order to learn about the components and various functions of the resources representing the Olle Trail's ecological culture, the landscape ecological technique was interpreted. Looking at the ecological and cultural characteristics of coastal, the coast includes black basalt rocks, coastal vegetation, coastal grasslands, coastal rock vegetation, winter migratory birds and Jeju haenyeo. Oreum is a unique volcanic topography, which includes circular and oval mountain bodies, oreum vegetation, crater wetlands, the origin and legend of the name of Oreum, the legend of the name of Oreum, the culture of grazing horses, the use of military purposes, the object of folk belief, and the view from the summit. Gotjawal features rocky bumps, unique microclimate formation, Gotjawal vegetation, geographical names, the culture of charcoal being baked in the past, and bizarre shapes of trees and vines. Field walls include the structure and shape of field walls, field cultivation crops, field wall habitats, Jeju agricultural culture, and field walls. The village includes a stone wall and roof structure built from basalt, a pavilion at the entrance of the village, a yard and garden inside the house, a view of the lives of local people, and an alleyway view. These resources have slowly changed with the long lives of humans, and are now unique to Jeju Island. By providing contents specialized for each type of Olle Trail, tourists who walk on Olle will be able to experience the Olle Trail in depth as they learn the story of the resources, and will be able to increase the sustainable use and satisfaction of Jeju Olle Trail users.

• Journal of Korean Philosophical Society
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• no.123
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• pp.137-185
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• 2018

This article aims to deconstruct the mechanism of male domination that constantly reproduces the hegemonic class of men. In order to overcome misogyny, we should no longer deny the ontological dimension of the reality of women's oppressions and the pre-eminence of the material condition of women's existence. In addition, the possibility of the category of women as a modality of resistance should be taken into consideration. First, I will highlight the correlation between penis and phallus according to which the phallus refers to the penis which is malleable and fragile and which disappears without being castrated by the external factor. From here we could deduce the fragility and imperfection, the non-absoluteness of the phallic order. Secondly, I will analyze the mechanism of penis-narcissism, which is the modality of the constitution of the individual identity of man. The penis is not only a physiological organ, but a site of self-estimation and the validity of the succession of power and authority of the father's law. With this penis-narcissism, man is constituted as a hegemonic body that can let itself go without worrying about the reactions of others. Thirdly, I will focus on the mechanism of the penis-cartel which is the modality of the formation of the collective identity. The penis-cartel is reinforced by the mutual affirmation of the superiority of men among themselves, but also by the permission and the tacit agreement of their absurdity and lack of rationality and corruption. Because the privilege of men is not monopolized by a small part of the elite, but is consciously and unconsciously shared by all men who are part of the hegemonic and collective category. In order to deconstruct the penis-narcissism and the penis-cartel, it is necessary to demonstrate that the penis is not a self-sufficient body, nor a closed and impermeable body, but that it is a porous body where the organ serves both ejaculation and urinary ejection. The penis is a porous body that is at once the site of sublimity and degradation, purity and impurity. In addition, the penis is no longer an all-powerful and aggressive organ, but it is a malleable and fluid flesh that constantly changes its shape. Linked to a phallus-organ that is the notion of Jacques-Alain Miller, it is a site of deficiency and vulnerability that is not the axis of the penis-cartel. It is through the notion of the double porosity of the penis and the phenomenology of the flesh of the penis, I try to provide the modality of undoing the reproductive mechanism of predatory masculinity. Because this would be an effective strategy to overcome misogyny.

• Cross-Cultural Studies
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• v.52
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• pp.277-312
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• 2018

First-order cybernetics during the 1940s and 1950s aimed for control of an observed system, while second-order cybernetics during the mid-1970s aspired to address the mechanism of an observing system. The former pursues an objective, subjectless, approach to a system, whereas the latter prefers a subjective, personal approach to a system. Second-order observation must be noted since a human observer is a living system that has its unique cognition. Maturana and Varela place the autopoiesis of this biological system at the core of second-order cybernetics. They contend that an autpoietic system maintains, transforms and produces itself. Technoscientific recreation of biological autopoiesis opens up to a new step in cybernetics: what I describe as third-order cybernetics. The formation of technoscientific autopoiesis overlaps with the Fourth Industrial Revolution or what Erik Brynjolfsson and Andrew McAfee call the Second Machine Age. It leads to a radical shift from human centrism to posthumanity whereby humanity is mechanized, and machinery is biologized. In two versions of the novel Demon Seed, American novelist Dean Koontz explores the significance of technoscientific autopoiesis. The 1973 version dramatizes two kinds of observers: the technophobic human observer and the technology-friendly machine observer Proteus. As the story concludes, the former dominates the latter with the result that an anthropocentric position still works. The 1997 version, however, reveals the victory of the techno-friendly narrator Proteus over the anthropocentric narrator. Losing his narrational position, the technophobic human narrator of the story disappears. In the 1997 version, Proteus becomes the subject of desire in luring divorcee Susan. He longs to flaunt his male egomaniac. His achievement of male identity is a sign of technological autopoiesis characteristic of third-order cybernetics. To display self-producing capabilities integral to the autonomy of machinery, Koontz's novel demonstrates that Proteus manipulates Susan's egg to produce a human-machine mixture. Koontz's demon child, problematically enough, implicates the future of eugenics in an era of technological autopoiesis. Proteus creates a crossbreed of humanity and machinery to engineer a perfect body and mind. He fixes incurable or intractable diseases through genetic modifications. Proteus transfers a vast amount of digital information to his offspring's brain, which enables the demon child to achieve state-of-the-art intelligence. His technological editing of human genes and consciousness leads to digital standardization through unanimous spread of the best qualities of humanity. He gathers distinguished human genes and mental status much like collecting luxury brands. Accordingly, Proteus's child-making project ultimately moves towards technologically-controlled eugenics. Pointedly, it disturbs the classical ideal of liberal humanism celebrating a human being as the master of his or her nature.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.292-307
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• 2019

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.

• Journal of the Korean Association of Geographic Information Studies
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• v.21 no.4
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• pp.64-80
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• 2018

In Korea, citizens can only know general information about crime. Thus it is difficult to know how much they are exposed to crime. If the police can predict the crime risky area, it will be possible to cope with the crime efficiently even though insufficient police and enforcement resources. However, there is no prediction system in Korea and the related researches are very much poor. From these backgrounds, the final goal of this study is to develop an automated crime prediction system. However, for the first step, we build a big data set which consists of local real crime information and urban physical or non-physical data. Then, we developed a crime prediction model through machine learning method. Finally, we assumed several possible scenarios and calculated the probability of crime and visualized the results in a map so as to increase the people's understanding. Among the factors affecting the crime occurrence revealed in previous and case studies, data was processed in the form of a big data for machine learning: real crime information, weather information (temperature, rainfall, wind speed, humidity, sunshine, insolation, snowfall, cloud cover) and local information (average building coverage, average floor area ratio, average building height, number of buildings, average appraised land value, average area of residential building, average number of ground floor). Among the supervised machine learning algorithms, the decision tree model, the random forest model, and the SVM model, which are known to be powerful and accurate in various fields were utilized to construct crime prevention model. As a result, decision tree model with the lowest RMSE was selected as an optimal prediction model. Based on this model, several scenarios were set for theft and violence cases which are the most frequent in the case city J, and the probability of crime was estimated by $250{\times}250m$ grid. As a result, we could find that the high crime risky area is occurring in three patterns in case city J. The probability of crime was divided into three classes and visualized in map by $250{\times}250m$ grid. Finally, we could develop a crime prediction model using machine learning algorithm and visualized the crime risky areas in a map which can recalculate the model and visualize the result simultaneously as time and urban conditions change.

• The Korean Journal of Archival Studies
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• no.20
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• pp.151-212
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• 2009

Museums are producing new value and being redefined as places that reproduce context, as the process of globalization are being reflected in museum activities. The new additional functions and roles to the traditional mission of museums allow artworks to find potential functions of art archive and meseum. At the same time, the public has faced originality and aura of an artwork by viewing the physical subject. However, with the appearance of a new digital object, the initiative of viewing has moved over from the artwork to the hands of the public. Now, the public does not go to the museum to see an artwork, but has started to adopt to an opposite paradigm of bringing the artwork forward to the screen. Therefore, they are not satisfied any longer with just seeing an artwork, but demand more information about the artworks and reproduce it as knowledge. Therefore, this study aimed to find types and characteristics through definition and range selection of art archive at this point where the value of art archive is enhanced and systematic management is required, and to present record management methods according to art archive structure and core execution function. It especially stressed that the basis of overall art archive definition was in an 'approach' paradigm rather than a 'preservation' paradigm, and embodied various application methods of digitalized art records. The digital object of an artwork was recognized as the first materialization of an actual artwork, and the digital original of an artwork was presented as the core record. Art archive managed under physical and intellectual control were organically restructured focusing on digital original copies of artworks, which are the core record in a digital technology environment, and could be provided to users in forms of various services that meet their demands. The beginning of systematic management of such art records will become a first step to enhance historical value, establish art cultural identity, and truly possess art culture.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.124-139
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• 2013

Choi Cheon-yak(about 1684~1755) is an artist who left the various artistic works such as sculptures of royal tombs, architectures. In addition, he was not only a skilled caster but also an able artisan carving jade in the early Joseon Dynasty period. Starting from making royal seals of King Suk-jong, he had made more than about 40 Royal seals until 1755. Choi Cheon-yak was well known as a skilled jade craftsman. Another of his great abilities was to carve subjects into ideal figures. In virtue of his greater abilities, he could take part in the process of constructing Royal tombs and sculpting the stone statues of military officials' which were erected at aristocrats' tombs. With these accumulated skills, when he was in charge of designing the folding screen stones for King In-jo's Jang Neong, he could even replace 12 animals system and clouds with peonies and lotus. Among his various abilities, his skill in carving a sculpture can stand comparison with any other contemporaries. His sculpture skill was at its zenith in 1752, the stone statues of military officials' at the Ui soseson's tomb count his showpiece that describes a model at the age of his late teens and is a realistic and portrayal sculpture, which met the royal family's dignity. In the same year, the stone statues of military officials' constructed by Choi Cheon-yak was elected in front of the Jo Hyen-myeong's tomb(1690~1752). This masterpiece referred to the armor of those of King Gong-min Neong and newly added a helmet and the patterns of a tortoise shell. These patterns of a tortoise shell were passed down to Park Moon-su's tomb in 1756 and Queen Jeong-sung's Hong Neung by his colleagues : Kim Ha-jeong and Byeon Yi-jin etc. He was one of the greatest sculptors in the $18^{th}$ century. People in Joseon praised him highly for his imaginative work from an amorphous object. Especially, these stone statues of military at Jo Hyeonmyeong's tomb shows the proofs of his supreme artwork.

• Korean Journal of Heritage: History & Science
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• v.45 no.2
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• pp.4-19
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• 2012

There remain many royal tombs of the Goryeo Dynasty in Gaeseong and Ganghwa. During the Goryeo Dynasty, these royal tombs were taken over tradition of tomb construction style from previous generation, and they completed their own inventive style. Furthermore they handed down those style to the Joseon Dynasty. The area of tomb was divided into 3 or 4 steps, and stone figures and T-shaped houses for sacrifice were arranged on each steps. It was the stone chamber of lateral opening style which had an entrance to southward, and it was formed as a rectangular box-shaped with a pile of stone walls and a flat ceiling. There was a coffin stand in the middle of floor, and traditional bricks were around them. The wall side and ceiling had been whitewashed and painted pictures. These are general characteristics for the tomb construction style of the Goryeo Dynasty. By the way, we can notice a number of features except those general things with inspection in detail. In early days, we confirmed 1step-parallel fulcrum ceiling, coffin stand of all in one stone, bier of burial artifact, and mural of plant material as a set, but they were changed as flat ceiling, Red-stone wall with rectangular stone, coffin stand set as stone pillar through the period of transitional form as of in the late 12th century. In case of several royal tombs, the fragments of king's epitaph which were confirmed from tombs could be defined owners clearly, and there were considerable timing difference between the large numbers of celadons which were excavated with the fragments of king's epitaph and recording chronologically of stone chamber structure. The reason for timing difference is that posterity artifacts were buried through repairing courses by occasion of destruction caused by robbing of the royal tombs. Meanwhile I inferred the existing hypothesis about owners of royal tombs and autonym ones in comparison the burial spot direction of hypothesis ones and outcomes of excavation. Therethrough, some hypothesis about owners of royal tombs such as Myung-neung which was assumed as tomb of the King Choongmok were not correct.